PANELS FROM 
THE TOMB OF DON 
GARCIA OSORIO 


IN 


THE COLLECTION OF 
THE HISPANIC SOCIETY 
OF AMERICA 





PRINTED BY ORDER OF 
THE TRUSTEES 


NEW YORK 
1926 








HISPANIC 


NOTES & MONOGRAPHS 


ESSAYS, STUDIES, AND BRIEF 
BIOGRAPHIES, ISSUED BY THE 
HISPANIC SOCIETY OF AMERICA 




















: 7 : rs Dial re 
(= ee a 
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Courtesy of the Victoria and Albert Museum 


EFFIGIES OF DON GARCIA OSORIO AND DONA 
MARIA DE PEREA also known as DON RODRIGO 
DE CARDENAS AND DONA TERESA CHACON 


London. Victoria and Albert Museum 











PANELS FROM . 
THE TOMB OF DON 
GARCIA OSORIO 


IN 
THE COLLECTION OF 
THE HISPANIC SOCIETY 
OF AMERICA 





PRINTED BY ORDER OF 
THE TRUSTEES 


NEW YORK 
1926 














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Z 
<< 
on] 
= 
lS 


CONTENTS 








CONTENTS 


PREFACE 


ESCUTCHEON OF DoNA MARIA DE 
PEREA 


PUTTO SUPPORTING A SHELL 
PUTTO SUPPORTING A SHELL 
PUTTO SUPPORTING A SHELL 
PUTTO SUPPORTING A SHELL 
Notes 


BIBLIOGRAPHY 























PREFACE 








PREFACE 


The town of Ocafia, near Aranjuez, was 
ceded to the Order of Santiago by an agree- 
ment with the Order of Calatrava towards 
the end of the twelfth century, and in it 
was fixed the residence of many of the 
grand masters. Like Uclés and the Mon- 
astery of San Marcos at Leén, it served as 




















a meeting-place for the chapters-general. 
The Church of San Pedro, founded at 
about the time when the Knights of Santi- 
ago came into possession of Ocafia and re- 
built in the fifteenth century, served as the 
chapel of their order. The Cardenas family 
was responsible for the erection of the main 
chapel, and the Osorios built that of the 
Sangre de Cristo. In the centre of this 
latter chapel was placed the tomb of Don 
Garcia Osorio (1), commander of Villa- 
nueva and a trece of the Order of Santiago, 








Ocafia 


Church 
of 
San Pedro 




















2 GARCIA OSORIO TOMB 














Courtesy of the Worcester 
Art Museum 


SAINT CATHERINE 


Worcester. Art Museum 











| 





Pete le A OT 





and of his wife, Dofia Maria de Perea. 
His testament was dated December 14th, 
1502 and that of his wife, June 18th, 1490. 
The Count of Cedillo, who visited the 
church before it was torn down, describes 
this tomb as follows: 

“In this chapel of the Osorios, placed in 
the right-hand corner as one entered, there 
was a sepulchral monument, that of the 
proprietors of the chapel: D. Garcia 
Osorio and his wife, consisting of a com- 
mon sarcophagus and two recumbent 
effigies, all of white marble. He was a 
knight of Santiago, with a cap on his head 
and on it a shell; complete armour and the 
cloak of his Order. Both feet rested on a 
helmet, but one of them disappeared, as 
well as the sword which the knight held. 
The lady, lying at his right, was dressed 
in a simple, long gown. Both effigies were 
in the centre of the chapel until the year 
1870, when they were moved to the spot 
where I succeeded in seeing them. Be- 
cause of their new and inconvenient situa- 
tion only two sides of the sarcophagus 





Tomb of 
Don Garcia 
Osorio 




















GARCIA OSORIO TOMB 


Courtesy of the Worcester 
Art Museum 


PRUDENCE 
Worcester. Art Museum 











Pen A CE 





were visible. The lengthwise side was 
adorned with the representation of Tem- 
perance (in Gothic characters /éperag¢a); 
with a figure of Saint Catherine (santa 
caterta) ; with two angels, and in the centre 
with an escutcheon supported by two more 
angels, with a charge of two wolves passant; 
with more angels, shells, and various fig- 
ures. The end, corresponding to the head, 
had a figure which represented Prudence 
(prudencya); an angel, and between both 


figures an escutcheon supported by two 


angels which showed as a blason five 
hearts. Doubtless the two hidden sides 
were adorned with a similar decoration 
and with the representations of the other 
two cardinal virtues” (2). 

To this chapel from their niches in the 
main chapel were brought, in the nine- 
teenth century, the effigies of Don Rodrigo 
de Cardenas and his wife, Teresa Chacon. 
When the church was torn down early in 
the twentieth century, the tombs were 
scattered. Two effigies now in the Victoria 
and Albert Museum, London, are identified 





Similarity 
to tomb of 
Rodrigo de 
Cardenas 














GARCIA OSORIO TOMB 


Courtesy of the Worcester Art Museum 


TEMPERANCE 
Worcester. Art Museum 











PREFACE 





as Rodrigo de Cardenas and his wife, but 


the minute descriptions given by the Count 
of Cedillo prove that they represent 
rather Garcia Osorio and Maria de Perea. 
The period and the general characteristics 
of both sets of statues were the same. 
Both ladies were modestly gowned and 
held rosaries. Both warriors were clad in 
armour and cloaks displaying the warlike 
device of Saint James of the Sword, but, 
although the phrase “a beardless warrior 
sear of countenance and stern of expres- 
sion”’ applies equally well to the figure un- 
der consideration, it is recorded that the 
Cardenas pair had at their feet a lion anda 
dog instead of the damsels, leaning against 
helmet and books, who grieve for Don 
Garcia and his lady. There are other 
minor differences. It happens, for further 
confusion, that the houses of Cardenas and 
Osorio both bore for arms or, two wolves pas- 
sant in pale, but on the one they are sable 
and on the other, gules. The escutcheons of 
Teresa Chacén and Maria de Perea have 
nothing in common. Panels from the 


fi 

















8 GARCIA OSORIO TOMB 








Courtesy of the Worcester Art Museum 


FORTITUDE 
Worcester. Art Museum 








PREFACE 9 





































Osorio tomb are to be found in various 
collections (3). In addition to the coats of 
arms, Virtues, and angels mentioned in the 
preceding account, there are figures of 
puttt supporting shells. The angels, in atti- 
tudes of grief or of pious resignation, have 
either straight hair spreading about their 
shoulders or a mass of loose curls. Their 
robes, like those of the Virtues, fall closely 
about their meagre forms, with strongly 
accented diagonal folds. The tomb was 
probably sculptured soon after the death 
of Don Garcia, within the first decade of 
the sixteenth century. The effigies in the 
Victoria and Albert Museum were tenta- 
tively assigned to the sculptor Pablo Ortiz, 
but recently the attribution has been 
changed to Gil de Siloe, the sculptor of the} Attribution 
royal tombs at Miraflores, in agreement ee me 

with an opinion given by Mayer. This de- 
cision cannot be accepted as final since the 
sculpture of the Osorio tomb reveals, in 
spite of certain likenesses, a slightly later 
art and one differing in many points from 
that of Siloe. It is stillin the Gothic style, 








GARCIA OSORIO TOMB 





AMES RRETRO SORR TSR rs 


’ 


Courtesy of the Metropolitan 
Museum of Art, New York 
AN ANGEL 


New York. Metropolitan 
Museum of Art 








PREFACE 


and the little angels are entirely within 
that tradition, but the putti show an ac- 
quaintance with the Italian Renaissance 
which distinguishes them from the gro- 
tesque urchins who scramble among the 
foliage in the tomb of the Infante Alonso. 
The effigies themselves, austere and simply 
clad, have nothing in common with the 
elegant figures of John the Second and 
Isabel, robed in jewel-encrusted, embroid- 
ered garments. The florid Gothic traceries 
and pinnacles which frame Siloe’s work 
have given place to simple mouldings and 
unadorned backgrounds. Pages and ladies- 
in-waiting seated at the feet guarding the 
helmet and reading are characteristic of 
the late fifteenth and the first years of the 
sixteenth century both in Old and New 
Castilla. The angelic shield supporters are 
merely pledges of the North European in- 
fluence then prevalent throughout Spain. 
The original attribution to Pablo Ortiz is 
more in accord with the general character 
of the Osorio tomb, although the lack of 
information about that sculptor makes it 


ih i 


Attribution 
to Pablo 
Ortiz 











12 GARCIA OSORIO TOMB 








Courtesy of the Metropolitan 
Museum of Art, New York 


AN ANGEL 


New York. Metropolitan 
Museum of Art 





PREFACE 


13 





difficult to form an estimate of his work. 
Nothing is known of him beyond the fact 
that he executed the tombs of Alvaro de 
Luna and his wife for the Chapel of San- 
tiago, Toledo Cathedral, in the year 1489 
(4). The figures of Garcia Osorio and 
Maria de Perea resemble those of Alvaro 
de Luna and Juana Pimentel, but the type, 
especially that of the armoured knight of 
Santiago with his cloak thrown back, is of 
frequent occurrence at that period in 
Toledo and in other towns of New Cas- 
tilla, while it is not to be found at Burgos. 
The sculpture of the decorative figures is 
quite similar, although not identical with 
that of the tomb from Ocafia. Another 
parallel is the tomb of Constanza de Cas- 
tilla (5) from the Convent of Santo Domin- 
go el Real, Madrid, with figures of Virtues 
which resemble those on the Osorio tomb. 
The monument to Don Garcia and his 
wife is a product of the Castilian school of 
the late fifteenth century with those North 
European influences, whether Flemish, 
German, or Burgundian, which both Gil 





Conclusion 








GARCIA OSORIO TOMB 


de Siloe and Pablo Ortiz held in fee from 
their artistic forbears and kinsmen, the 
masters “‘of Cologne” at Burgos and the 
Egases from Brussels and Gias at Toledo. 
The Burgundian elements, not directly 
traceable to any of these antecedents, are 
especially to be noticed. The geographical 
position of Ocafia as well as the character 
of the tomb point to a closer relationship 
with Toledo than with Burgos. 


Courtesy of the Metropolitan Museum of Art, 
New York 


ESCUTCHEON OF DON GARCIA OSORIO 
Or, two wolves passant in pale gules 
New York. Metropolitan Museum of Art 








PLATE I 





D307 


ESCUTCHEON OF DONA MARIA DE PEREA 
Or, five poplar leaves in saltire vert 


New York. The Hispanic Society of America 


ESCUTCHEON 





I 


ESCUTCHEON OF DONA MARIA 
DE PEREA 


Two angels stand on pedestals with leaf- 
crocketed shafts supporting the coat of 
arms, which bears five poplar leaves or, the 
“hearts” of the Count of Cedillo’s de- 
scription. The shield is further sustained 
by a putto kneeling below it. The angels 
are clad in loose, belted garments. Their 
straight hair is bound with fillets and 
gilded. The panel is surrounded on three 
sides by a moulding which rounds the up- 
per corners. A row of circles in relief 
decorates the fascie of two sides. A 
sloping shelf is placed at the bottom of the 
panel and just above it is a moulding. At 
the height of the tops of the pedestals is a 
row of corbeling. In the spandrels of the 











GARCIA OSORIO TOMB 








upper corners are a grotesque human- 
headed animal figure and a leopard, in low 
relief. 


High relief; alabaster, with traces of gilding. 
Karly sixteenth century. Height 66 cm.— 
Width 71 cm. From the tomb of Don Garcia 
Osorio in the Church of San Pedro, Ocaifia. 


Courtesy of the Metropolitan Museum of Art, 
New York 


ESCUTCHEON OF DONA MARIA 
DE PEREA 


New York. Metropolitan Museum of Art 








PLATE II 





D308 
PUTTO SUPPORTING A SHELL 
New York. The Hispanic Society of America 








Peel O 





II 
PUTTO SUPPORTING A SHELL 


A putto, facing front, holds with his left 
hand the edge of a shell above his head, 
his face almost concealed in the shadow. 
The shell is gilded. His right hand rests 
on his hip. A broad ribbon falls over his 
right shoulder. The moulding which 
frames the panel rounds the two upper 
corners. The puito stands on a sloping 
shelf at the bottom of the panel. A mould- 
ing and a row of corbeling are placed above 
this shelf. 


High relief; alabaster, with traces of gilding. 
Early sixteenth century. Height 65.5 cm.— 
Width 29 cm. From the tomb of Don Garcia 

|Osorio in the Church of San Pedro, Ocafia. 





GARCIA OSORIO TOMB 





Courtesy of the Metropolitan 
Museum of Art, New York 


PUTTO SUPPORTING A SHELL 


New York. Metropolitan 
Museum of Art 








¥. 





PLATE III 





D309 


PUTTO SUPPORTING A SHELL 
New York. The Hispanic Society of America 





Pet: 1 O 





TL 





PUP PPORTING A SHELL 


A putto with a ribbon tied about his head 
stands in profile, holding with his left hand 
the bottom of a large shell. His right hand 
supports his left arm. The shell and the 
boy’s hair are gilded. The frame is like 
that of number D308. The recurrence of 
the cockle shell, the badge of Santiago, is 
due to the fact that Garcia Osorio was a 
knight of that order and that the Church 
of San Pedro was their chapel. 


Repaired. High relief; alabaster, with 
traces of gilding. Early sixteenth century. 
Height 65.3 em.—Width 29 cm. From the 
tomb of Don Garcia Osorio in the Church of 
San Pedro, Ocafia. 





20 GARCIA OSORIO TOMB 














Courtesy of the Worcester 
Art Museum 


AN ANGEL 
Worcester. Art Museum 











D310 
PUTTO SUPPORTING A SHELL 
New York. The Hispanic Society of America 


melt O 





IV 
PUTTO SUPPORTING A SHELL 


A putto, facing left, grasps with his right 
hand the lower edge of a shell. His left 
hand and right foot are propped against 
the moulding at the side. A long drapery 
touches the edge of the shell and falls over 
his right shoulder to the ground. The 
shell is gilded. The frame is like that of 
number D308. 


High relief; alabaster, with traces of gilding. 
Early sixteenth century. Height 66 cm.—: 
Width 30 cm. In pencil at upper right-hand: 
Ocafia. From the tomb of Don Garcia Osorio 
in the Church of San Pedro, Ocafia. 








21 


GARCIA OSORIO TOMB 





Courtesy of the Metropolitan 
Museum of Art, New York 


PUTTO SUPPORTING A SHELL 


New York. Metropolitan 
Museum of Art 





PLATE V 





PUTTO SUPPORTING A SHELL 
New York. The Hispanic Society of America 





V 







PUTTO SUPPORTING A SHELL 






A putto, with his back turned, seizes 
with both hands the lower edge of a shell. 
A drapery is wound about his waist and 
right leg. The shell is gilded. The frame 
is like those of the other panels, except 
that the corbeling is omitted. 








- High relief; alabaster, with traces of gilding. 
Early sixteenth century. Height 65 cm.— 
Width 30 cm. From the tomb of Don Garcia 
Osorio in the Church of San Pedro, Ocafia. 



















24 


GARCIA OSORIO TOMB 








Courtesy of the Victoria and Albert Museum 


AN ATTENDANT 
London. Victoria and Albert Museum 





NOTES 


NOTES 


(1) This Garcia Osorio was the son of Lope 
Alvarez Osorio, commander of Socobos in the 
Order of Santiago, the first of the family of 
the marquises of Astorga to come to Ocafia, 
and of his wife, Constanza de Cardenas. Ac- 
cording to Diaz Ballesteros (Historia de la 
villa de Ocafia. v. 2, p. 205), Don Garcia was 
with Alonso de Cardenas, his cousin, in the 
Battle of Albuera and the disastrous expedi- 
tion of the Ajarquia, and was also present at 
the important events of the Vega of Granada. 


(2) Cedillo, Jerénimo Lépez de Ayala, 
conde de. La iglesia de San Pedro, de Ocafia in 
Sociedad espafiola de excursiones. Boletin. 
January 1920. v. 28, p. 36-37. 


_ (3) In addition to those in the collection of 
The Hispanic Society of America, portions of 
the tomb of Garcia Osorio are to be found in 
the following collections: 


Cambridge (England). Fitzwilliam Museum 
Putto supporting a shell 











25 





26 GARCIA OSORIO TOMB 


London. Victoria and Albert Museum 
Effigies of Garcia Osorio and Maria de 
Perea 


New York. Metropolitan Museum of Art 
Escutcheon of Garcia Osorio 
Escutcheon of Maria de Perea 
Putto supporting a shell 
Putto supporting a shell 
An angel 
An angel 


Worcester. Art Museum 
Fortitude 
Prudence and Saint Catherine 
Temperance 
An angel 


(4) Orueta has also attributed to Ortiz, be- 
cause of similarities with the Toledo tombs, 
the effigy of Rodrigo de Campuzano in the 
Church of San WNicolds, Guadalajara, and 
Mayer, the tomb of Beatriz de Pacheco in 
the Monastery of el Parral, Segovia. 





(5) After Dofia Constanza’s death in 1478, 
the community erected her tomb. It is now 
in the Museo Arqueolégico Nacional, Madrid. 














Peabo G R.A PH Y 





27 





BIBLIOGRAPHY 


CEDILLO, Jerénimo Lépez de Ayala, conde de. 
La iglesia de San Pedro, de Ocafia in Socie- 
dad espafiola de excursiones.  Boletin. 
January 1920. v. 28, p. [32]-38. 

Diaz BAuLEesTEROoS, Miguel and Lariz vy 
Garcia SuEtTo, Benito de. Historia de la 
villa de Ocafia. Ocafia, 1868-73. 2v. in I. 

Lérrz DE Haro, Alonso. Nobiliario genea- 
logico de los reyes y titvlosde Espanta. Madrid, 
EG22 227. 


Mayer, August Liebmann. EI escultor Gil 
de Siloe in Sociedad espafiola de excursiones. 
Boletin. December 1923. v. 31, p. [252]-257. 

Micuei, André. Histoire de lart. Paris 
(aro05- |. .v.-6,.2° ptie. 

OrveETA y Duarte, Ricardo de. La escultura 
funeraria en Espana. Madrid, 1919. 

QuapRApDO, José Maria. Castilla la Nueva. 
Barcelona, 1885-86. v. 3. (Hspafa, sus 
monumentos y artes, su naturaleza é historia. 


[v. 7]). 

















28 GARCIA OSORIO TOMB 


| ———- 

RADES Y DE ANDRADE, Francisco de. Chronica 
de las tres ordenes y cauallerias de Sanctiago, 
Calatraua y Alcantara. Toledo, 1572. 


W., R. Spanish sculpture in Worcester. Art 
museum. Bulletin. April 1920. v. II, p. 
9-10. 




















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